In order to avoid repetitive and rigid presentation, painting must be presented together with all connections with space instead of separating it from the rest of the space and shutting it up deadly on the wall.
In this era when reality is gradually being virtualized, painting needs to redefine itself in the evolution of contemporary art, and the existence of painting should be fully displayed to counteract the decorative and electronic nature that is gradually killing it. Through the application of objects and the intervention of other art forms, I hope to extend the painting from the wall as much as possible to the space, or even to exist in a three-dimensional state apart from the wall. The abandoned objects or some leftover materials on the street are the major objects of frequently emerge in my artworks. They all have traces of being used, which are a kind of tangible memory and are temporal. Combination of them and painting achieves the purpose of |
extending in the exhibition space. Most of the themes of the paintings
depict different traces or marks on the wall. Based on the combination with diverse objects, the paint should not be limited to oil paint, but a mixture of industrial pigments and other substances or any kind of paints that are common in daily life. The echo of memories and the meaninglessness of temporality establish an existential context for the artworks. With the addition of performative quality into the artworks I make the work further interact with the space and establish a stronger and perceptible connection. Through light and shadow or the trembling brought by the breeze makes the artworks show a state of slight movement, which is relatively primitive, with human touch, similar to the amplitude of breathing, and avoids a state of numbness created by artificial intelligence or high-tech mechanical system.. Therefore, by constantly exploring and experimenting between painting-object assemblages and painting on canvas, I hope to expand the boundary of painting as an art form continuously. |